Articles of belief

If I am talking about a book which has the definite or indefinite article at the beginning of its title, I will always drop it where there are modifiers. I tend to pay no intention to whether it is simply a name for the work (The Iliad) or the name or title of somebody in the book, used as the book's title (The Lord of the Rings). In English, Homer's first epic is called The Iliad, a work which even a typhlochiist* like myself acknowledges shows source material from wide stretches of space and time. So one might talk about "an older Iliad " I would never say "a shorter The Iliad ", nor "Homer's The Iliad"; I would avoid "Shakespeare's A Midsummer Night's Dream". 

Adam Roberts has just published an extract from his new book The Riddles of The Hobbit at tor.com. It looks very interesting although I do tend to think that Tolkien scholarship begins with Christopher Tolkien  and ends with T. A. Shippey.†

But there is another The Hobbit; a second The Hobbit written by Tolkien, comprising revisions to this first edition, additional material written forThe Lord of the Rings and the appendices of The Lord of the Rings, plus other material. The most significant of these latter are two separate prose pieces, both called ‘The Quest for Erebor’ first collected in the posthumously-publishedUnfinished Tales (1980). Tolkien’s first revisions were confined to the ‘Riddles in the Dark’ chapter. After writing the first Hobbit Tolkien came to the conclusion that ‘the Ring’ was more than just a magic ring conferring invisibility on its wearer—that it was indeed the most powerful artefact in the whole world, one with which people could become so besotted as to lose their souls. Gollum, he reasoned, would not freely give up such an item. So he rewrote the scene, and all subsequent editions of the novel treat the encounter in a less light-hearted manner. This is symptomatic of something larger, a reconceptualising (Tolkien purists might say: a distillation or focusing) of his now-celebrated legendarium. No longer a folk-story, it now becomes a grand sacramental drama of incarnation, atonement and redemption.

"another The Hobbit ; a second The Hobbit " – aaargh! But later he has "After writing the first Hobbit".

Still looks good though. 

*In the Hymn to Apollo, traditionally attributed to Homer (hence "Homeric Hymns") , the bard asks the maidens of Delos who is the sweetest singer. They reply that "he is a blind man and lives on rocky Chios". This is the origin of the tradition that Homer was blind and from Chios. τυφλὸς ἀνήρ, οἰκεῖ δὲ Χίῳ ἔνι παιπαλοέσσῃ – typhlos anēr, oikei de Chiō eni paipaloessē.

†You can include his Author of the Century  if you like but it is simply a rehash of the earlier book.

Preaching and the Biblical Languages

The Rev. Gerald Ambulance discusses the problem of preaching.

Greek is another good time-killer. Try this kind of thing: "Now the word translated 'preaching' here is the Greek word kerygma. And that comes from the verb kerysso, meaning 'to preach'. So when St Paul says 'preaching', what that word really means is 'preaching'." (Stephen Tomkins, My Ministry Manual by Rev. Gerald Ambulance, p.31).
Rod Decker, Preaching and the Biblical Languages: Garnish or Entrée Mellon or Mantra? has a more serious approach.

Some extracts.
Forty years ago as a college and seminary student I was a cook. I worked in various types of kitchen settings: short order, line cook, and commercial dining rooms. In most such situations we were concerned that the plate we served look nice. Part of the “dressing” was some sort of garnish—a sprig of parsley, a spiced apple ring, a lemon curl, etc. The garnish was not part of the nutritional value of the meal. We did not intend that our customers eat the parsley. It just looked nice. What we wanted them to eat was the entrée. Whether that was a juicy steak grilled to perfection or a chicken breast stuffed and wrapped and prepared just so, we took great pains that it be good quality, tender, and tasty. We did not, however, carry it to their table on a greasy spatula or in a crusty roasting pan. We served the finished product in an appealing, ready-to-eat form. That setting provides my analogy. 
The biblical languages should not function merely as a garnish. Too often pastors pay only lip service to the biblical languages. They may acknowledge that they are important—at least to the commentary writer. They expect others to do the dirty work so that they can garnish their sermons with impressive-sounding jargon, a sprig of Greek parsley. “In the original Greek this is an ‘ā-or-ist’ tense, therefore it means [such and such.]” Or they add a lemon curl. “The Greek perfect mood proves that we were saved in the past and will be eternally secure forever.” Or for a real “ringer” (i.e., a spiced apple ring garnish), “This word in the original Greek is number 4352 which is a compound of 4314 and 2965, so it means to lick God’s hand like a puppy dog.” All such statements are merely attempts to sound impressive or to wield the Greek as an authority club. They prove nothing and do not add anything to understanding the meaning of the text. That is neither the purpose nor the value of the biblical languages.
The languages are much more like the entrée than the garnish. They are not the entrée as such, but the tools used to prepare the entrée. We do not feed God’s people with Greek and Hebrew. What goes on the sermonic plate is an appetizing, tender piece of meat. If we are ministering in an English-speaking context, that means that the entrée—the biblical content—must be explained in relatively simple English that our audience can understand. Just as the goal of a vernacular translation of the Bible is communication, so the goal of a biblical sermon must be the communication of the Bible’s message in language that our audience can understand.
He then discusses the Doors of Durin in The Lord of the Rings. (It seems even Baptists are not immune to the lure of Tolkien.) Just as the Fellowship needed to say the Elvish word for "friend" mellon, to enter Moria, so "it is through the door of the biblical languages that we enter (certainly as friends!) into the Scriptures".
On the other hand, we ought not make the biblical languages, as important as they are, into a mantra (the last part of my subtitle). Some people, being firmly convinced of the general argument that I have proposed thus far, use the biblical languages, not as a mellon, but as a mantra. They are certainly sincere and they have commendably placed a high priority on the biblical languages, but they then go one step too far in making the tools of exegesis into the gadgets of homiletics. Just as a mantra refers to something repeated continually, so these preachers continually inflict their audience with Greek and Hebrew. They preach Robertson and Danker and Wallace in their efforts to preach Christ. Their sermons contain profuse reference to Greek and Hebrew words, to technical grammatical description, to diachronic etymologies, and even verb parsings. Some even imply to God’s people that they should (or even must) learn Greek if they are going to understand Scripture and become spiritually mature. Their churches become language institutes and their pulpits become lecterns.
According to the epilogue to Decker's paper, Dr Christopher Cone, at the same conference, argued that it is the job of preachers to teach their audiences the Biblical languages, textual criticism, genre, and so on.
God revealed Himself using language. That he revealed Himself in such a way has tremendous implications for teaching. God expected that His audience would be sufficiently skilled in the principles of the languages He used so that they could understand His meaning. We all need to understand how to understand God’s word. We all need to know how to handle variants, translations, background, rhetorical structure, grammar, syntax, vocabulary, and context.
"We all"? Everyone needs to be able to cope with textual criticism, ancient genres etc not to mention the languages? How shall we be saved?

What Cone and, to a lesser extent, Decker do, is confuse preaching the words of God with preaching the Word of God. They come rather close to the Mahometan approach of treating a particular language (at least two languages so far as Christians are concerned) as the very language of the Almighty.

Almost ten years ago, as friends of mine were ordained to the diaconate, I was always writing the following passage in greeting cards, from St Gregory the Great (Hom. in Ev. xvii) used in the Office for St Luke on 18th October.
For our Lord follows in the wake of those who preach him, since preaching paves the way, and then our Lord himself comes to make his dwelling-place in our hearts. First come the words that exhort us, and then by means of them truth is received into the mind. It was for this reason that Isaiah [40:3] commanded preachers: "Prepare the way of the Lord, make straight the paths of our God." For the same reason too the psalmist gives them the order: "Make a highway for him who goes on high above the setting sun" (Ps 67:5/68:4). 
Msgr. Charles Pope discusses this passage.

The Lord of the Rings, Appendix B, on your Mac

You can get a barebones anniversary list of events in The Hobbit and The Lord of the Rings on your Mac. Not immediately obvious how I import it into Calendar.

Slightly more information e.g. what the "cat" command in the terminal means (I know I was dying to know) at The Mac Observer.

UPDATE: Since the above links might die this is a note at what you do. (1) On your Mac open the terminal in Applications/Utilities. (2) Type:

cat /usr/share/calendar/calendar.lotr.

Don't forget the space between "cat" and "/usr…"

(3) Hit return. (4) Enjoy Appendix B.

What? Another One?

When I was at school, my English teacher once referred to Christopher Tolkien as publishing manuscripts from "out of a trunk in the attic". I thought this was an excessively cynical way of looking at The History of Middle Earth, and still do.

What would she make of the reconstruction of an incomplete long version of The Children of Húrin, a previously unheard of translation cum adaptation of the Völsunga saga in The Legend of Sigurd and Gudrún (always reaching for the accents, that Tolkien chap) and now another another work which nobody has ever heard of before, The Fall of Arthur? Next it will be Robin Hood, then the Táin, the Mabinogion and so on. Pretty soon he should have the entire Cambridge ASNAC syllabus covered.

UPDATE: What do you mean? Of course I'll be getting it!

UPDATE 2: And the deluxe version.

Tolkien Songs by Colin Rudd

So there's this bloke with a guitar and a webcam. He does straight versions – no parody, no funny effects – of songs from The Hobbit and The Lord of the Rings. In a few cases they are just sound playing against a black screen.

It's a shame about his politics, he has a song up in honour of Fidel Castro for crying out loud! The songs are reminiscent of the style of acoustic Led Zeppelin, or the Vagabond Crew song "I Was Only 19". Better than a ropy adaptation of a phrase from one of Tolkien's letters.

First up the one I found in a post on TheOneRing.Net which led me to the rest. The "Lament for Boromir" from The Two Towers book I, chapter 1 "The Departure of Boromir".

"The Walking Song" from Chapter 3 of Book I of The Fellowship of the Ring, "Three is Company". Lines from the last stanza found their way into Pippin's song for Denethor in the film of The Return of the King.

"The Tale of Tinúviel" from chapter 11 of Book I of The Fellowship of the Ring, "A Knife in the Dark". In the film, Peter Jackson had Aragorn sing a line or too in Elvish in a scene in the Midgewater Marshes rather than on Weathertop (funny that, in the book the song is complete and in English).

Gimli's "Song of Durin" from chapter 4 of Book II of The Fellowship of the Ring, "A Journey in the Dark".

Frodo's "Lament for Gandalf" from chapter 7 of Book II of The Fellowship of the Ring, "The Mirror of Galadriel". Only Sam's characteristic addition (not here) is found in the film. The last stanza (from 2:32) still makes the hairs on the back of my neck stand on end.

"The Song of the Ent and the Entwives" from Chapter 5 of Book I of The Two Towers, "Treebeard". If you imagine Treebeard as like Prince Herbert in Monty Python and the Holy Grail, then this song fits perfectly.

Next some songs from The Adventures of Tom Bombadil.

Number 4: "Princess Mee".

Number 9: "The Mewlips".

Number 14 "The Hoard".

Finally, he has set to music the early poem "The Little House of Lost Play" from the end of chapter 1 of The Book of Lost Tales Volume 1, "The Cottage of Lost Play". This is the beginning of the long series of books, edited by Tolkien's son, covering the history of the creation of Middle Earth. At this stage, the stories that would become The Silmarillion were told within a framing narrative as the first Englishman visits the Elves. The fey style of the guitar and strings suits Tolkien's writings from this period.

The Queen and Tolkien

This story, about the Queen's visit to the Midlands, caught my attention.
Her Majesty unveiled a plaque commemorating her visit to the cathedral after a special Worcestershire-themed service led by the Bishop of Worcester the Right Reverend Dr John Inge, which included the audience singing an excerpt from JRR Tolkien’s Lord Of The Rings to Elgar’s Land Of Hope And Glory before finishing with the National Anthem.
What, I wondered, could that have been?

The official press release from Worcester Cathedralwas not much help:
The audience, which included more than 300 schoolchildren, joined in a refrain based on words by J.R.R. Tolkien in celebration of Worcestershire, sung to Elgar’s tune of Land of Hope and Glory.
So not actually one of the poems in The Lord Of The Rings, and yes, that's right, the representatives of a Cathedral, discussing a Church service,  described attendees as "the audience". One of the congregation was a little more revealing on a Worcestershire community website:
We rehearsed a couple of things before The Queen arrived - three lines from J.R.R. Tolkien who said "Any corner of Worcestershire is home to me, as no other part of the world is", set to Elgar's tune of Land of Hope and Glory:
Worcestershire is our Shire,
Hill and vale and tree,
Every corner of this Shire is home to me.

And the National Anthem. The three lines were sung three times during the performance.
The line "Hill and vale and tree" (actually a half line) is from the hymn 'For the beauty of the earth' made famous by John Rutter, words by Folliot Sandford Pierpoint (1835-1917). As for the rest, it is derived from a remark by Tolkien in a letter to his son Michael, dated 18th March 1941, discussing his maternal relations, the Suffields, who were from the West Midlands and in particular Worcestershire.
Though a Tolkien by name, I am a Suffield by tastes, talents, and upbringing, and any corner of that country (however fair or squalid) is in an indefinable way 'home' to me, as no other part of the world is.
Number 44 in: Humphrey Carpenter ed.,
The Letters of J. R. R. Tolkien,  George Allen & Unwin, 1981.